PDF to Print a Small Zine

Total Page:16

File Type:pdf, Size:1020Kb

PDF to Print a Small Zine 5151 Hi! I am a queer grad student who just moved to Glasgow, Scotland. Sharing Document It Yourself is about my quest to find archives of local This zine is free and cannot be sold or used for commercial queer narratives, with the goal of making them more interactive and purposes, but you can make as many copies as you want, accessible to the public. This zine explores different archives and share it, or give it away! queer initiatives in town, gives you a few tips if you are new to archival research or just curious about it, shows you samples of documents I found and illustrated, and helps you retrace them if you Go to documentityourselfzine.wordpress.com to find: want to learn more. • a PDF formatted for reading online/downloading The physical sites I visited are located in Glasgow (and one in Edinburgh), but you don’t have to live here in order to enjoy reading • a PDF formatted for printing this zine. • printing and binding instructions • an audiozine with the same content Contact Names have been redacted out of personal documents to Send questions/comments at [email protected] protect people’s privacy. For the purpose of a simple layout, I only put reference numbers Thanks for reading! and authors’ names on each page. All the complete sources are at the end of this zine. Lots of people have given me permission to reproduce their archival documents, so please do have a look at the ✨⚡ reference list on p.4. 2 5151 Table of Contents Introduction………………………………………………..4 Mitchell Library – Glasgow Life Archive…………5 More, more, more Queering language……………….5 Links Glasgow Women’s Library – Zine, LGBTQ and Lesbian Archive……………………………8 Care, part 1…………………………………………………..….8 www.lgbtarchive.uk Queering sources……………………………………………10 National Library of Scotland – www.queerarchivesinstitute.org Moving Image Archive…………….17 Care, part 2……………………………..17 www.digitaltransgenderarchive.net Bildwechsel Glasgow………………………19 Queering access……………………………19 www.thewhoresofyore.com OurStory Scotland…………………….22 www.qzap.org/ Do it yourself………………………………22 Queering methods………………………….23 Life episodes, illustrated………………….…23 www.autostraddle.com/50-zines-by-queer-people- of-color-184692/ Now what?........................................39 Archive visit checklist……………..39 Document it yourself……………42 References……….45 Sources……………..45 Addresses……………48 More, more, more………………...................50 Links…………………………………………..50 Sharing……………………………………...51 Contact……………………………………51 3 500 bildwechsel Glasgow Introduction As of 2017, bildwechsel Glasgow doesn’t have a fixed address. Write them to ask your questions. Email: [email protected] If you are an artist or a student, a historian or simply interested in queer history, you will soon notice that finding a variety of queer archival bildwechsel’s main address is at: documents isn’t always easy. I started researching queer archives in bildwechsel Glasgow for my course and art practice. However, I ended up turning the Kirchenallee 25 focus of my project onto archival methodology and politics instead. There 20099 Hamburg Germany was just so much to be said about the radical acts of reclaiming queer histories and the methods used to document them. Telephone: +49 (0)40 246384 Email: [email protected] http://www.bildwechsel.org/info/en/ Being able to tell a story, and having the language to talk about yourself, http://durbahn.net/videoschloss/index.html can give you confidence and a strong sense of identity. Where you lack the words and the confidence to tell your story, you can feel as if you have National Museums Scotland - OurStory Scotland Archive wheelchair accessible lost your self. Telling your story may even be a matter of life and death. If you cannot name and narrate your identity, you may lose a sense of who Research Library, level 3 you are, what you are doing and why it is worth continuing. (…) Chambers Street Edinburgh, EH1 1JF Where voices are unheard, hidden or suppressed, the images and Tel: 0131 247 4137 representations of a community may be stereotyped and discriminatory, Email: [email protected] https://www.nms.ac.uk/ constructed about the community by those on the outside. LGBT (lesbian, gay, bisexual and transgender) people have experienced social exclusion Dorothy Kidd, Senior Curator and marginalisation, and their stories have been neglected or distorted. Tel: 0131 247 4076 Email: [email protected] Their lives and loves have been characterised as wrong: mistaken in medical or moral terms. Their choice has been to understand themselves, OurStory Scotland if at all, in alien terms (Valentine, 2008, p.2). Email: [email protected] https://www.ourstoryscotland.org.uk 4 4949 Addresses Mitchell Library - Glasgow Life Archive All the archival documents in this zine can be found at the Queering language following institutions: Mitchell Library - Glasgow Life Archive Queer archives are scarce in general. When you find documents, wheelchair accessible the way they are catalogued does not always represent the whole spectrum of terms queer people use to describe themselves. Level 5, The Mitchell Library North Street, While there is a diverse terminology for sexual identity, the [US] Glasgow G3 7DN Library of Congress distills it into variations of lesbian, gay, bisexual, and homosexual. Meanwhile, we are queers and queens, and Telephone: 0141 287 2910 transgender, and dykes, and bull daggers, and butches, and lipstick Email: [email protected] lesbians. (…) ‘‘Queer’’ represents a wide range of sexual identities http://www.glasgowlife.org.uk/ and expressions. It was a term of the working class and used by people of color from early on in the gay liberation movement (de la Glasgow Women’s Library – Zine, LGBTQ and Lesbian Archive tierra, 2008, p.98). wheelchair accessible Dated terms like ‘sodomy’ (see next page) are to be expected in Glasgow Women’s Library 23 Landressy Street historical documents, but updating the index would help making Glasgow, G40 1BP archives more welcoming to people researching the history of their own community. Telephone: 0141 550 2267 Email: [email protected] ‘Queer’ is an important word, because it is a slur reclaimed by its https://womenslibrary.org.uk/ targeted group. Institutions have the resources to adapt their language so that it reflects the way people name themselves. Not National Library of Scotland - Moving Image Archive doing so further alienates communities and reinforces systemic wheelchair accessible oppression. Institutions should support, uplift and amplify marginalised voices, especially those of queer, trans or non-binary Kelvin Hall people who also happen to be people of colour, sex workers, 1445 Argyle Street working class or unemployed, people with disabilities or mental Glasgow, G3 8AW illness, etc. Telephone: 0845 366 4600 ‘‘The language and discourse of liberation and transformation Email: [email protected] recognizes and honors the right of all people to name themselves.’’ https://www.nls.uk/collections/moving-image-archive/ (Abalos (1999) cited in de la tierra (2008, p. 97.) 4848 5 Page 22 Valentine, J. (2012). Turning Out to Make History: OurStory Scotland. History Scotland. [Online]. January/February 2012, p.30. [5 Dec. 2017]. Available from: https://www.ourstoryscotland.org.uk/research/pres/Turni ngOutToMakeHistory1.pdf Page 23 Valentine, J. (2012). Turning Out to Make History: OurStory Scotland. History Scotland. [Online]. January/February 2012, pp.30-31. [5 Dec. 2017]. Available from: https://www.ourstoryscotland.org.uk/research/pres/Turni ngOutToMakeHistory1.pdf OurStory Scotland. 2017. OurStory Scotland. [Online]. [5 Dec. 2017]. Available from: Having more index cards with more varied and accurate terms referring to https://www.ourstoryscotland.org.uk the same files could be a first step in the right direction, but it’s not an Page 24 From OurStory Scotland Archive at National Museums easy one. Scotland [21 Nov. 2017]: W.MS.2007.563.1 [They] may be terms that ‘‘represent shifting and overlapping sexual and Page 25 W.MS.2007.481.1 gender identities,’’ but in the library ‘‘books about these identities will be assigned static subject headings that collate sometimes widely divergent Page 26 W.MS.2007.493.1 representations of gendered selves.’’ (Drabinski, cited in Eichhorn, 2014, Page 27 W.MS.2007.452.1 p.141) Titanic. 1997. [Film]. James Cameron. dir. United States: Paramount Pictures, 20th Century Fox, Lightstorm Entertainment. Page 28 W.MS.2007.443.1 Page 29 W.MS.2007.542.1 Page 30 W.MS.2007.562.1 Page 31 W.MS.2007.570.1 Page 32 W.MS.2007.435.3 Page 33 W.MS.2007.494.2 Page 34 W.MS.2007.439.1 Page 35 W.MS.2007.419.2 Page 36 W.MS.2007.509.1 Page 37 W.MS.2007.412.1 Page 38 W.MS.2007.497.2 6 4747 Another step that institutions can take to support marginalised voices is to Page 9 From the Glasgow Women’s Library Archive [20 offer archival space to groups that work on documenting their own narratives. This is what the Mitchell Library has done by allowing OurStory Nov. 2017]: Scotland to store their organisational records in their Glasgow Life ‘Archival Handling’ sheet collection. In the files (ref.TD1904), you can see the steps taken by OurStory Page 10 From the Zine Archive at Glasgow Women’s Library Scotland in order to create local queer archives. (more at p.22) [20 Nov. 2017]: Cunt & Paste, ref. GB 1534 ZN/C/13 Page 11 A Handy Guide to Asexuality, ref. GB 1534 ZN/A/14 Page 12 Dyke Dreams, ref. GB 1534 ZN/D/5/1 Page 13 Hens Tae Watch Oot Fur, ref. GB 1534 ZN/H/03/zines/H/3 Page 14 Bombshell, ref. GB 1534 ZN/B/06/zines/B/6/1 The Animals and the Ark and the Rainbow, ref. GB 1534 ZN/A/10/01 Page 15 Fabulous Babes, ref. GB 1534 ZN/F/01/zines/F/1/1 Page 16 From the Lesbian Archive at Glasgow Women’s Library [20 Nov.
Recommended publications
  • Statistical Yearbook 2019
    STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema
    [Show full text]
  • SCMS 2019 Conference Program
    CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others.
    [Show full text]
  • Glasgow Cinema Programmes 1908-1914
    Dougan, Andy (2018) The development of the audience for early film in Glasgow before 1914. PhD thesis. https://theses.gla.ac.uk/9088/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] The development of the audience for early film in Glasgow before 1914 Andy Dougan Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow May 2018 ©Andy Dougan, May 2018 2 In memory of my father, Andrew Dougan. He encouraged my lifelong love of cinema and many of the happiest hours of my childhood were spent with him at many of the venues written about in this thesis. 3 Abstract This thesis investigates the development of the audience for early cinema in Glasgow. It takes a social-historical approach considering the established scholarship from Allen, Low, Hansen, Kuhn et al, on the development of early cinema audiences, and overlays this with original archival research to provide examples which are specific to Glasgow.
    [Show full text]
  • The Making of a Scottish National Cinema Through Short Fiction Films 1930-2016 Zach Finch University of Wisconsin-Milwaukee
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2017 A’ Oor Ain: the Making of a Scottish National Cinema Through Short Fiction Films 1930-2016 Zach Finch University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Film and Media Studies Commons Recommended Citation Finch, Zach, "A’ Oor Ain: the Making of a Scottish National Cinema Through Short Fiction Films 1930-2016" (2017). Theses and Dissertations. 1469. https://dc.uwm.edu/etd/1469 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. A’ OOR AIN: THE MAKING OF A SCOTTISH NATIONAL CINEMA THROUGH SHORT FICTION FILMS 1930-2016 by Zach Finch A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English at The University of Wisconsin-Milwaukee May 2017 ABSTRACT A’ OOR AIN: THE MAKING OF A SCOTTISH NATIONAL CINEMA THROUGH SHORT FICTION FILMS 1930-2016 by Zach Finch The University of Wisconsin-Milwaukee, 2017 Under the Supervision of Professor Tami Williams This dissertation tells a story of Scottish national cinema through Scotland’s short fiction films from 1930 to 2016. As a small nation within the United Kingdom, Scotland’s film culture has played a subordinate role in relation to England’s, and has struggled for decades to create its own thriving film industry. However, in the mid-1990s, critics and scholars began to talk of a uniquely Scottish national cinema, rather than the traditional and all-encompassing “British cinema,” because of the success of films like Shallow Grave (1994) and Trainspotting (1996).
    [Show full text]
  • From Social Tagging to Polyrepresentation: a Study of Expert Annotating Behavior of Moving Images
    DOCTORAL THESIS From Social Tagging to Polyrepresentation: A Study of Expert Annotating Behavior of Moving Images Author: Liliana María Melgar Estrada Director: Eva María Méndez Rodríguez LIBRARY AND INFORMATION SCIENCES DEPARTMENT Getafe, November 2015 TESIS DOCTORAL From Social Tagging to Polyrepresentation: A Study of Expert Annotating Behavior of Moving Images Autor: Liliana María Melgar Estrada Director: Eva María Méndez Rodríguez Firma del Tribunal Calificador: Firma Presidente: (Nombre y apellidos) Vocal: (Nombre y apellidos) Secretario: (Nombre y apellidos) Calificación: Getafe, de de Acknowledgements This thesis work was possible thanks to the support and generous collaboration of several people and institutions. I especially wish to acknowledge my supervisor, Prof. Eva Méndez Rodríguez, for having supported me since the first time I met her, and for the experienced advice, friendly motivation and valuable input. I also would like to thank the Library and Information Science Department at Carlos III University in Madrid for accepting me as a researcher within the PIF program (scholarships for trainee researchers) between 2011 and 2015. The studies that constitute this thesis were done thanks to the hospitality and arrangements of three institutions that I visited during the research period: Vrije Universiteit Amsterdam (VU), Utrecht University, and the Netherlands Film Museum (EYE); and to Dr. Marina Díaz López, from the Cervantes Institute, who facilitated the contact with renowned film scholars in Spain. This thesis grew from their and other people’s important contributions. I also thank Virginia Ortiz Repiso, for her trust and diligence in arranging the internships. My especial acknowledgments to those who contributed to the essential task of interpretive qualitative research that is conducted in this thesis, since without them meaning and interpretation could not have been possible.
    [Show full text]
  • At War's End: Allied Forces at Bergen-Belsen Mark
    AT WAR'S END: ALLIED FORCES AT BERGEN-BELSEN * MARK CELINSCAK A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN HUMANITIES YORK UNIVERSITY TORONTO, ONTARIO APRIL 2012 © Mark Celinscak, 2012 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-90347-6 Our file Notre reference ISBN: 978-0-494-90347-6 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Roblematises This View, Focusing Instead on the Potential for Success of the Various Production Strategies Employed by Scottish Film-Makers
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Why Not a Scots Hollywood? Fiction film production in Scotland, 1911-1928 Caroline Merz Doctor of Philosophy The University of Edinburgh 2016 Declaration I declare that this thesis has been composed solely by me and that it has not been submitted, in whole or in part, for any other degree or professional qualification, nor has it been published in any form. Except where explicitly stated otherwise by reference or acknowledgement, the work presented is entirely my own. Signature ………………………………………….. 1 Abstract This thesis addresses a neglected area of British national cinema history, presenting the first comprehensive study of Scotland’s incursions into narrative film production before the coming of sound. It explores both the specificity of Scottish production and its place within the broader cultural, political and economic contexts of the British film industry at key periods in the ‘silent’ era before and after the Great War.
    [Show full text]
  • A Persistent Vision Lesley Keen DOWSER Issue 4 (Spring 2021) Edit, Typeset, Design: Marcus Jack
    4. A Persistent Vision Lesley Keen DOWSER Issue 4 (Spring 2021) Edit, typeset, design: Marcus Jack Frontispiece: Lesley Keen, Invocation, 1984. Back Cover: Lesley Keen, Burrellesque, 1990. DOWSER All images courtesy of Lesley Keen. © Total Immersion Ltd. Published by Transit Arts in Glasgow, Scotland. www.transitarts.co.uk Printed in an edition of 200. Typeset in Optima. ISSN 2634-7083 (Print) ISSN 2634-7091 (Online) © 2021 Transit Arts and its contributors. All rights reserved. DOWSER is a series of newly commissioned essays, interview transcripts and archival materials which makes available, for the first time, a collated set of resources from which we might begin to plot a history of artists’ moving image in Scotland. Conceived as the necessary groundwork for a critically underreported field, this series hopes to share fragments, positions and testimonies that articulate the development of a now ubiquitous artform with a vivid and unique history in Scotland. It wasn’t until 1982 with the much-belated filmmakers in Scotland found routes to launch of the Scottish Film Production Fund accommodate brazenly independent practices that Scotland could finally claim to offer its first that don’t necessarily cooperate with existing public film subsidy free from the contingencies narratives and categories. The remarkable work of sponsorship endured in previous generations. of experimental animator Lesley Keen and her Until then, the country’s film infrastructure had production company Persistent Vision (1982– been outpaced by its southern counterpart by 1999) is one such lesson in disruption. From her the measure of decades, a disparity felt even studio in Glasgow, Keen navigated the field of more acutely amongst those on the experimental broadcast television in the early days of Channel end of the spectrum.
    [Show full text]
  • Volume 5, Issue 2, E Arly Summer 2021
    The Journal of Dress History Volume 5, Issue 2, Early Summer 2021 Front Cover Image: Chapkan, circa 1700–1799, Velvet, Silk, and Silver, © National Museum of History of Azerbaijan, Baku, Azerbaijan, Ethnography Fund Inventory #3571. A chapkan is a type of kaftan, worn by women and men, widespread in Azerbaijan, Iran, North Caucasus Turks, Turkey, and central Asia. The patterns on this chapkan reflect the fabrics and embroideries of the eighteenth century. Inside the silver contours, the flowers decorated with silk thread are called “Afshar flowers.” The Afshars are one of the ancient Turkic tribes. They settled in the Karabakh region of Azerbaijan, Iran, and Turkey. According to the patterns on this chapkan, the dress is called “Afshar chapkan.” The Journal of Dress History Volume 5, Issue 2, Early Summer 2021 Editor–in–Chief Jennifer Daley Associate Editor Georgina Chappell Associate Editor Michael Ballard Ramsey Associate Editor Benjamin Linley Wild Associate Editor Valerio Zanetti Editorial Assistant Thomas Walter Dietz Editorial Assistant Fleur Dingen Editorial Assistant Abigail Jubb Published By The Association of Dress Historians [email protected] www.dresshistorians.org/journal The Journal of Dress History Volume 5, Issue 2, Early Summer 2021 [email protected] www.dresshistorians.org/journal Copyright © 2021 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) Accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians (ADH) through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The ADH supports and promotes the study and professional practice of the history of dress, textiles, and accessories of all cultures and regions of the world, from before classical antiquity to the present day.
    [Show full text]
  • Bfi2022 Supporting Uk Film
    BFI2022 SUPPORTING UK FILM BFI PLAN 2017-2022 BFI2022 SUPPORTING UK FILM Introduction Page 2 Introduction by Josh Berger - Chair, BFI and Amanda Nevill - CEO, BFI The BFI’s role is to look to the future. That’s exactly in partnership, and we would like to thank our key what we have been doing over the last year by partners who have worked so hard with us to shape listening carefully to really valuable feedback and this next chapter. learning from thousands of people across the UK, at roadshows, roundtables and through our online Today filmmakers are drawn to experimenting across survey. Thank you for being involved. As some great a whole new array of screens and technologies futurists have put it: smart people don’t predict the and across the non-linear, interactive world. The future, they shape it. opportunity for the BFI to support risk taking to influence this artistic evolution has never been so We are excited to present here our five-year plan exciting. This broadening of cultural focus will be which builds on Film Forever, our previous strategy. visible in all we do, as we set out in the next five It is designed to help shape the BFI’s next chapter years to inspire excellence, to ignite creativity, and to for film, television, animation and the moving image expand and deepen enjoyment of the moving image generally, so we can seize all the opportunities, for all of us. expected and unexpected, artistic and economic, that this dynamic arena offers. The BFI’s cultural programme is the foundation of all our work, enriched through partnering with the We are keenly aware that our contribution is a other great film centres across the UK and abroad.
    [Show full text]
  • Film Research Report Structure
    Developing the Screen Industries in North Staffordshire A Research and Strategy Paper for the North Staffordshire Regeneration Partnership Peter Rudge Staffordshire University 1 Executive Summary The objective of this research was to deliver a report that informs future strategic development in the North Staffordshire Region by increasing the knowledge base of the opportunities, gaps in provision and need within the Screen Industries. The geographical focus for the work is the local authority areas as identified by the North Staffordshire Regeneration Partnership for North Staffordshire. Within the report we propose to: • Map film activities and film support services taking place across the region. This may include University spin out companies or support programmes funded through the Public sector. Highlight additional film support services that are required. • Identify key players, organisations, companies and agencies active in the development of film in the region. This would include Advantage West Midlands, Screen West Midlands, locally based Universities and Colleges. • To identify the key products from the region such as Souled Out and The Card which increase ‘brand awareness’ of the regions potential as a film production choice. • To identify potential screen venues in both conventional and unconventional settings which may be used for performances. These might for example, include retail units in Hanley or Newcastle City Centres or an empty industrial unit. • To identify potential venues, locations and areas of interest to film makers within the region such as the diverse offerings from the wildness of the Staffordshire Moorlands to old heritage buildings in Burslem such as the Wedgwood Institute. • Outline regional, national and international opportunities for funding and investment in the region’s film infrastructure.
    [Show full text]
  • The Archival Life of Home Movies
    !"# $%!& !%'%%#( ) * # *+),' - . / '- * 0 ** * * ' * . ' 1231 * '4 * '- 0 * . '- * . . ' ! .. . * . '- . . . '56 * $ . !78% !79%'- 0 * . * * .: ' 8 1 !7,% . : : ; ' 9 * * 0 '# * , . 31 ' . '< * . . '4 * '- *. =. * . * * ' $%!& >??' '? @A> >>> !,%BB8 4+7"&7!""7"!%!B 4+7"&7!""7"!%$8 *!!,78 THE ARCHIVAL LIFE OF HOME MOVIES Ashley Smith The Archival Life of Home Movies Regional Reflections and Negotiated Visions of a Shared Past Ashley Smith ©Ashley Smith, Stockholm University 2018 ISBN print 978-91-7797-101-6 ISBN PDF 978-91-7797-102-3 Cover image from the Thomas Collection (Special Collections, University of Mississippi Libraries) Printed in Sweden by Universitetsservice US-AB, Stockholm 2018 Distributor: Department of Media Studies, Stockholm University Contents Preface ............................................................................................................ 5 Introduction ..................................................................................................... 9 The Archival
    [Show full text]